Ruti Sela: For the Record / Pro záznam
Ruti Sela works with moments of life, video camera, video editing, and gallery projection. Against the backdrop of social antagonism she creates everyday situations, of which she and her camera form a part. Though at first sight her videos take the form of documentaries, in fact they are not.
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Film and Video of Moral Disquiet I
Three European video artists confront Equatorial Africa. They actively enter into the local social relationships affected by post-colonialism and their documentary films acquire the dimensions of personal performances raising political and ethical questions.
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Kamil Činátl: Memory in Film, or Film in Memory?
Over the last few decades film has become a key medium for collectively shared remembrance. Indeed, films and serials have appeared that do not simply offer images of the past, but enact the actual practice of remembering (think of Hřebejk’s film Kawasaki’s Rose or the serial Narrate on Czech Television).
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Discussion with Michelle Levy: how to connect and define artist communities
New York based curator and artist Michelle Levy will present the EFA Project Space, a program of the Elizabeth Foundation for the Arts, a multi-arts non-profit organization in the heart of New York City. The program presents a dialogue about diverse creative practices through exhibitions, residencies, discussions, performances, and social cultivation events in collaboration with organizations, curators, artists and collectives. In her talk, Michelle Levy will share some of the projects and developments of this young program, and discuss the climate for non-commercial art programs in New York and Prague, and what the two situations could gain from each other.
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Juan Pablo Macías: Tiempo Muerto II (Dead Time II)
Tiempo Muerto II (Dead Time II)
The anarchist doctrine accessible to all
The work of Juan Pablo Macías (Mexico, 1974) explores the relation between systems of representation and affectivity, and analogically, between power knowledge and insurrectional knowledge. With his actions, interventions and work on archives, he intends to cause tensions between institution, art practice and social field, abandoning flat semantics by producing programs that operate directly on the biological, social and economic bodies. His work has been shown in major art museums in Mexico and around the world.
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Anti-capitalism days 2013 – An alternative exists
We live in a world of extreme inequality, where the poor get poorer and the rich richer.
In a world in which many countries are experiencing famine. In a world of dictators propped up by respected Western governments. In a world of cuts and tightening the belts of the weakest.
However, we also live in a world of resistance to neo-liberalism. In a world where people have managed to bring down seemingly invincible authorities. In a world in which many people reject the inequality between men and women. In a world in which disapproval of the catastrophic destruction of the environment is spreading.
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KKA2 Homo Sacer Giorgio Agamben
On the occasion of the publication of the Czech translation of the first work in the trilogy Homo Sacer by the Italian philosopher Giorgio Agamben, the fourth meeting this year of the A2 Criticism Club will take place in the tranzitdisplay gallery, Prague.
The debate will focus on understanding the term “homo sacer” within the framework of Agamben’s thinking. It will inevitably examine his powerful thesis that an exceptional state of affairs is the paradigm of contemporary political regimes. It will ask what forms current manifestations of the declared exceptional state of affairs take in reality.
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Pavel Kořínek: The negotiation of memory through comics – from Vladek Spiegelman’s memories to the negotiated trilogy About Stories
The advent of autobiographical comics in the 1970s and 80s saw greater attention being paid to reflections on the wide variety of personal shared and corrected personal memories.
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Fionn Meade: The Broken Atlas
Curator and writer Fionn Meade will talk about his curatorial practice
and introduce three concepts arising from research done at the close
of the 19th century by cultural thinkers involved in developing new
applications within quickly expanding fields, specifically
anthropologist Franz Boas’ “secondary rationalization,” art historian
Aby Warburg’s “pathosformel,” and sociologist Gabriel Tarde’s
“quantification.” By thinking through these concepts together, Meade
will consider their shared traits as partial, even symptomatic
methods, and how their insights question presumed trajectories of
modernity, and might yet be relevant. Meade will consider these
concepts in relation to recent exhibitions Time Again, Nachleben, and
Plaisance.
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PAAL BJELKE ANDERSEN: Writing in a language that is always someone else's
In a TV show from the 1970s, a well-known linguist called the dialect I was speaking then “the ugliest Norwegian.” Since then I have moved to Oslo, graduated and become a literary figure of sorts. I no longer use the dialect (and sociolect) I used to speak when I was a child, although it does not necessarily mean I have learnt to speak and write in “correct Norwegian.” Speech and poetry are tools I use because they are not “mine”: they are always someone else's.
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Andrea Průchová: A New Reading of Monuments of the Past
We perceive the city as a constantly transforming, dynamic complex of events, relationships and roles. Just as the city changes every hour of the day, so the process of creating meanings of cities within the urban infrastructure never stops.
The monuments and sculptural interventions in the public space that characterise the garish suburban high-rise building projects of the normalisation period have become decomposing symbols of the past during the decades of freedom, condemned to physical and spiritual erosion.
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TD soundsystem Rafani: Nameless Commotion
TD soundsystem Rafani: Nameless Commotion
“Many days have passed since the moment when a group of five desperadoes from a hole in which everything is simply magic and reason brought the world to its knees in order to crush it into dust through a sonic sledgehammer, which didn’t sound like music but like a cataclysmic fit of possessed dilettantes. White blocks were shaken to their foundations and concepts to their seams, lakes overflowed their banks and fields were laid waste. Rafani appeared from nowhere to bring to life an apocalypse of boredom in its destructive and diabolical non-inspiring invocation.”
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ERSTE Foundation is main partner of tranzit:
